Panda wins the 2025 Palm Dog award at Cannes — and a look-alike accepts
Panda, though, is an Icelandic sheepdog who stars in 'The Love That Remains,' from Icelandic director Hlynur Pálmason. Always positioned at the tail end of the festival, the beachside Palm Dog ceremony comes a day before the winner of the festival's Palme d'Or is announced.
Pálmason's tragicomic film, which premiered at Cannes not in competition, follows five characters — Panda included — over the course of a year after the breakdown of a marriage. Panda is ever-present and very much part of the on-screen family and at the heart of the movie. Panda, who retains her name in the film, is Pálmason's dog and stars alongside his real-life children in the movie, which may explain the award-winning performance.
While Panda sadly could not be there to collect the award, a look-alike local pooch was on hand to collect the coveted dog collar along with one of the film's human producers. Panda did make a virtual appearance with an acceptance video, on a car journey through Iceland. She succeeds last year's winner, Kodi, from 'Dog on Trial.'
This year's awards marked the 25th anniversary of the much-loved event. Palm Dog founder Toby Rose explained that it has had more impact that he could imagine, becoming a fixture at Cannes.
'We honor the four-legged here just so they get a bit of their moment before the big dresses and the tuxedos take over,' Rose said.
Other prizes included the 'Mutt Moment' Award, for stealing the scene. This went to a long-haired dachshund and a rottweiler, for their roles in raunchy BDSM biker drama 'Pillion,' starring Alexander Skarsgård and Harry Melling. The scene in question involves the film's two lovers bringing their respective dogs to a nighttime tryst.
In a thank-you statement, director Harry Lighton described Hippo the dachshund's 'raw sex appeal' and said she's the true domme in 'Pillion.'
Finally the grand jury prize was awarded to mystical Spanish odyssey 'Sirât,' for Jack Russell terrier Pipa and Lupita, a Podenco cross. The story follows a father searching for his daughter across the desert, accompanied by his son — and Pipa and Lupita.
Lead actor Jade Oukid was there in person to collect the award alongside director Oliver Laxe. She told the gathered audience that Lupita was her own dog, who had sadly died soon after filming. After the show, Rose added that Lupita would be immortalized with this prize: 'We were so happy that we could celebrate a short life.'
The Palm Dog has seen many a famous guest come down to pick up their awards in person. Quentin Tarantino came in person to collect the award in 2019 when Brandy the pit bull in 'Once Upon a Time ... in Hollywood' won. And, in 2021, Tilda Swinton attended the ceremony to pick up the prize when her own three dogs, Rose, Dora and Snowbear, won the award for their roles in Joanna Hogg's 'The Souvenir II.'
Some dogs have become mini-celebrities in their own right, including Messi from 'Anatomy of a Fall.'
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Chicago Tribune
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Column: The Tribune's film critic Michael Phillips says so long for now
Well. Goodbye for now. The Tribune has eliminated the position of film critic, as part of a newsroom reorganization. This leaves me with two options: stick around for reassignment or take a buyout. I'm voting buyout. I'm opting in for opting out. After six newspapers in Minneapolis; Dallas; San Diego; St. Paul, Minneapolis; Los Angeles and Chicago, and 41 fulltime years in this beautiful, vanishing subset of journalism, it feels right. Forty-one years, plus six years of freelancing my way through college. Call it 47. Forty-seven years of writing, editing, gobbling research like the grad student I never was; 47 years of making my peace at the keyboard (or waging another micro-war against cliches) when faced with one more deadline. Nearly a half-century of putting work ahead of everything else, too often at everything else's expense. So now, for me, it's time for the shock of the new. The new to be named later. Through fat and lean and thick and thin and, to quote Mel Brooks, through thin, the Tribune has been good to me. They took a chance on me back in 2002 and I'm grateful. The place has brought me so much to love in this city. Plus the paper underwrote 10 trips to the Cannes Film Festival, with my name on the festival badge, once upon a time. I arrived from the Los Angeles Times as the Tribune's new theater critic. This was the result of a lengthy interview process for the finalists for the post vacated by the irreplaceable Richard Christiansen. Bizarrely, all the other finalists turned the job down, with regrets. Perhaps none of us could get our heads around the workload established so selflessly by Christiansen, and in my case I wanted enough life in my life to be there for my son, then one year old. And then Tribune editors did something sort of amazing. They agreed to fill the theater critic position with two, not one: me and Chris Jones, the latter now the paper's editorial page editor as well as Tribune and New York Daily News theater critic. In an overwhelmingly white male newsroom, there we were, two more white males. I think about that a lot. There's an Arthur Miller quote that gets a lot of reuse here at the Tribune. It's etched into a wall inside our former tower's lobby: 'A good newspaper, I suppose, is a nation talking to itself.' Right now, any newspaper with an interest in staying urgent and relevant and alert is getting an earful of a fractious nation. Making sense of these nerve-wracking times, and everything filmmakers, artists, writers, creators create out of the din, amounts to more than a routine profession. Or a bottom line. I got paid for my first opinion at 17, which was ridiculous but educational. At my college paper, the Minnesota Daily, I knew I wasn't writing like myself yet. I wrote about movies, plays, performers and artists like a combination of critics I admired. Young actors often do the same; they learn by doing, and by borrowing, and in time by letting the false front fall away. Every text, email, letter and phone call the Tribune readers have sent my way, be it out of agreement, frustration or just plain kindness — nothing I ever wrote meant as much as what you sent, and I mean it. The good fortune so many of us fell into back then, editing or generating arts coverage, is a dream now, a dream of a less precarious era of journalism. My first fulltime job was arts editor of the Twin Cities weekly City Pages. What was I doing? I didn't know what I was doing. I just did as much of everything as I could see and hear and watch. In the Twin Cities in the '80s, you could catch Ella Fitzgerald one night and The Replacements the next. 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